ACT III. SCENE viii. (III. v. 84.)
And, yet, no Man like he doth grieve my heart.
Juliet"s equivocations are rather too artful for a mind disturbed by the loss of a new lover.
ACT IV. SCENE iii. (IV. iii. 2-3.)
Leave me to myself to-night; For I have need of many orisons.
Juliet plays most of her pranks under the appearance of religion: perhaps Shakespeare meant to punish her hypocrisy.
ACT V. SCENE i. (V. i. 3.)
My bosom"s Lord sits lightly on this throne, &c.
These three lines are very gay and pleasing. But why does Shakespeare give Romeo this involuntary cheerfulness just before the extremity of unhappiness? Perhaps to shew the vanity of trusting to those uncertain and casual exaltations or depressions, which many consider as certain foretokens of good and evil.
ACT V. SCENE v. (v. iii. 229.)
FRIAR. I will be brief.
It is much to be lamented that the Poet did not conclude the dialogue with the action, and avoid a narrative of events which the audience already knew. This play is one of the most pleasing of our Author"s performances. The scenes are busy and various, the incidents numerous and important, the catastrophe irresistably affecting and the process of the action carried on with such probability at least with such congruity to popular opinions, as tragedy requires.
Here is one of the few attempts of Shakespeare to exhibit the conversation of gentlemen, to represent the airy sprightliness of juvenile elegance. Mr. Dryden mentions a tradition which might easily reach his time, of a declaration made by Shakespeare, that he was obliged to kill Mercutio in the third act, lest he should have been killed by him. Yet he thinks him no such formidable person, but that he might have lived through the play, and died in his bed, without danger to a poet. Dryden well knew, had he been in quest of truth, that, in a pointed sentence, more regard is commonly had to the word than the thought, and that it is very seldom to be rigorously understood. Mercutio"s wit, gaiety and courage, will always procure him friends that wish him a longer life; but his death is not precipitated, he has lived out the time allotted him in the construction of the play; nor do I doubt the ability of Shakespeare to have continued his existence, though some of his sallies are perhaps out of the reach of Dryden; whose genius was not very fertile of merriment, nor ductile to humour, but acute, argumentative, comprehensive, and sublime.
The Nurse is one of the characters in which the Authour delighted: he has, with great subtility of distinction, drawn her at once loquacious and secret, obsequious and insolent, trusty and dishonest.
His comick scenes are happily wrought, but his pathetick strains are always polluted with some unexpected depravations. His persons, however distressed, HAVE A CONCEIT LEFT THEM IN THEIR MISERY, A MISERABLE CONCEIT.
HAMLET
ACT II. SCENE ii. (II. i. 114-17.)
It is as proper to our age To cast beyond ourselves in our opinions, As it is common for the younger sort
To lack discretion. This is not the remark of a weak man. The vice of age is too much suspicion. Men long accustomed to the wiles of life "cast" commonly "beyond themselves", let their cunning go further than reason can attend it. This is always the fault of a little mind, made artful by long commerce with the world.
ACT II. SCENE iv. (II. ii.)
Polonius is a man bred in courts, exercised in business, stored with observation, confident of his knowledge, proud of his eloquence, and declining into dotage. His mode of oratory is truly represented as designed to ridicule the practice of those times, of prefaces that made no introduction, and of method that embarra.s.sed rather than explained. This part of his character is accidental, the rest is natural. Such a man is positive and confident, because he knows that his mind was once strong, and knows not that it is become weak. Such a man excels in general principles, but fails in the particular application. He is knowing in retrospect, and ignorant in foresight. While he depends upon his memory, and can draw from his repositories of knowledge, he utters weighty sentences, and gives useful counsel; but as the mind in its enfeebled state cannot be kept long busy and intent, the old man is subject to sudden dereliction of his faculties, he loses the order of his ideas, and entangles himself in his own thoughts, till he recovers the leading principle, and falls again into his former train. This idea of dotage encroaching upon wisdom, will solve all the phenomena of the character of Polonius.
If the dramas of Shakespeare were to be characterised, each by the particular excellence which distinguishes it from the rest, we must allow to the tragedy of HAMLET the praise of variety. The incidents are so numerous, that the argument of the play would make a long tale. The scenes are interchangeably diversified with merriment and solemnity; with merriment that includes judicious and instructive observations, and solemnity, not strained by poetical violence above the natural sentiments of man. New characters appear from time to time in continual succession, exhibiting various forms of life and particular modes of conversation. The pretended madness of HAMLET causes much mirth, the mournful distraction of OPHELIA fills the heart with tenderness, and every personage produces the effect intended, from the apparition that in the first act chills the blood with horror, to the fop in the last that exposes affectation to just contempt.
The conduct is perhaps not wholly secure against objections. The action is indeed for the most part in continual progression, but there are some scenes which neither forward nor r.e.t.a.r.d it. Of the feigned madness of Hamlet there appears no adequate cause, for he does nothing which he might not have done with the reputation of sanity. He plays the madman most, when he treats Ophelia with so much rudeness, which seems to be useless and wanton cruelty.
Hamlet is, through the whole play, rather an instrument than an agent. After he has, by the stratagem of the play, convicted the King, he makes no attempt to punish him, and his death is at last effected by an incident which Hamlet has no part in producing.
The catastrophe is not very happily produced; the exchange of weapons is rather an expedient of necessity, than a stroke of art.
A scheme might easily have been formed, to kill Hamlet with the dagger, and Laertes with the bowl.
The poet is accused of having shewn little regard to poetical justice, and may be charged with equal neglect of poetical probability.
The apparition left the regions of the dead to little purpose; the revenge which he demands is not obtained but by the death of him that was required to take it; and the gratification which would arise from the destruction of an usurper and a murderer, is abated by the untimely death of Ophelia, the young, the beautiful, the harmless, and the pious.
OTh.e.l.lO
ACT V. SCENE vi. (v. ii. 63-5.)
Oh perjur"d woman! Thou dost stone my heart, And mak"st me call, what I intent to do, A murder, which I thought a sacrifice.
This line is difficult. Thou hast harden"d my heart, and makest me kill thee with the rage of a MURDERER, when I thought to have sacraficed thee to justice with the calmness of a priest striking a victim.
It must not be omitted, that one of the elder quarto"s reads, "Thou dost stone THY heart:" which I suspect to be genuine. The meaning then will be, thou forcest me to dismiss thee from the world in the state of the murdered without preparation for death, when I intended that thy punishment should have been "a sacrifice" atoning for thy crime.
I am glad that I have ended my revisal of this dreadful scene. It is not to be endured.
The beauties of this play impress themselves so strongly upon the attention of the reader, that they can draw no aid from critical ill.u.s.tration. The fiery openness of Oth.e.l.lo, magnanimous, artless, and credulous, boundless in his confidence, ardent in his affection, inflexible in his resolution, and obdurate in his revenge; the cool malignity of Iago, silent in his resentment, subtle in his designs, and studious at once of his interest and his vengeance; the soft simplicity of Desdemona, confident of merit, and conscious of innocence, her artless perseverance in her suit, and her slowness to suspect that she can be suspected, are such proofs of Shakespeare"s skill in human nature, as, I suppose, it is vain to seek in any modern writer. The gradual progress which Iago makes in the Moor"s conviction, and the circ.u.mstances which he employs to inflame him, are so artfully natural, that, though it will perhaps not be said of him as he says of himself, that he is "a man not esily jealous,"
yet we cannot but pity him when at last we find him "perplexed in the extreme."
There is always danger lest wickedness conjoined with abilities should steal upon esteem, though it misses of approbation but the character if Iago is so conducted, that he is from the first scene to the last hated and despised.
Event he inferiour characters of this play would be very conspicuous in any other piece, not only for their justness but their strength.
Ca.s.sio is brave, benevolent, and honest, ruined only by his want of stubbornness to resist an insidious invitation of Rodegigo"s suspicious credulity, and impatient submission of the cheats which he sees practised upon him, and which by persuasion he suffers to be repeated, exhibit a strong picture of a weak mind betrayed by unlawful desires, to a false friend and the virtue of AEmilia is such as we often find, worn loosely but not cast off, easy to commit small crimes, but quickend and alarmed at atrocious villanies.
The Scenes from the beginning to the end are busy, varied but happy interchanges, and regularly promoting the progression of the story; and the narrative in the end, though it tells but what is known already, yet is necessary to produce the death of Oth.e.l.lo.
Had the scene opened in Cyprus, and the preceding incidents been occasionally related, there had been little wanting of a drama of the most exact and scrupulous regularity.